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Full text of "The Creative Woman"

'Si 

A i 'The 

J ^-v. N^WDm«n A quarterly newsletter, Governors State University, Park Forest South. IL 60466. 



A quarterly newsletter published at Governors State University under the auspices of the Office of the Vice-President for Academic Affairs 

STAFF 

Helen E. Hughes, Editor 
Donna Piontek, Editorial Assistant 
Joan Lewis, Editorial Consultant 
Suzanne Oliver, Graphic Designer 

ADVISORY COUNCIL 

Marilyn Blitzsteln, Religion 

Rev. Ellen Dohner, Philosophy of Creativity 

Dorothy Freck, Science/ Journalism 

Harriet Gross, Sociology/ Women's Studies 

Betye Saar, Fine Arts 

Sara Shumer, Political Theory 

Helene Guttman, Biological Sciences 

Emily Wasiolek, Literature 

WELCOME TO THE CREATIVE WOMAN 

For far too long, the belief was held that a woman achieved her ultimate level 
of creativity upon giving birth. The idea was such that by merely being female our 
course was set for us -- to conceive and bear fruit. 

With the advent of the women's movement a few years back and the hard work of 
many stalwart females, we are now at a point where we can reappraise ourselves, in 
terms of us_. We can sit back, look at our needs and desires, and take stock. We 
are creative individuals and that creativity has been ignored. With this thought 
in mind we decided to create a vehicle for women everywhere to express their own 
forms of creativity. 

The response generated by this proposal thusfar has been overwhelming and heart- 
warming. Your enthusiasm for both partaking of participating in this newsletter 
has given us the impetus to produce it. We hope this will be a forum for all women 
who desire to use it. We eagerly encourage any and all feedback that you, the readers, 
have. 

As of this writing, The Creative Woman is planned as a general interest quarter- 
ly newsletter for women. Each issue will be devoted to a special topic, such as 
women in science, women in art, women in religion and so forth. For each theme, 
a person from that chosen field will be a guest editor, someone to lend expertise 
to each topic. We are also very open to new ideas. 

Thank you for your support and encouragement. May this small bit of communi- 
cation between us all yield the enrichment and support we have been deserving for 
so long. DJP 



CALL TO CONTRIBUTORS 

Manuscripts on any aspect of creativity in any field applied to women or studies 
of brain function are invited. Please submit typescripts double-spaced to the Editor, 
Volume I, Number 4 (Spring 1978) will be devoted to Women in Science and Dr. Helene 
Guttman, National Institute of Health, Washington, D.C., will be guest editor for 
that issue. Volume II, Number 1 (Summer 1978) will focus on Women in the Arts, 
edited by Betye Saar of Hollywood, California. We are interested in original work, 
abstracts of work in progress, book reviews and news items. HEH 



BREAKING FREE IN THE NINETEENTH CENTURY 



Victorian women were exhorted to "suffer 
and be still," to live and die obedient to 
the dictates of male authority. Many found 
that they could not conform and live the 
lives laid out for them. We read about the 
murderesses who reacted to their situations 
with violence, and there were many who quiet- 
ly lapsed into eccentricity or insanity. 

Some women were stronger, though, and 
found means of living positively as their 
own needs directed, not as their society ex- 
pected. Florence Nightingale (1820-1910) is 
a famous example. Her given role would have 
been to marry well, live as a charming, even 
influential, hostess to the great men in her 
husband's circle. By refusing her accepted 
role, she gained her self, which she was able 
to express in a powerful, even ruthless way, 
as she worked in the Crimea and then in 
England to reform the Army medical services 
and the hospital system. 

Religion was one of many strategies 
Nightingale used to create her life. She be- 
lieved that her work was in response to a di- 
vine calling. So did Caroline Chisholm (1808- 
1877) who felt direct divine intervention when 
she struggled forward with her work for immi- 
grant women in Australia. Without that reli- 
gious faith, she would probably not have had 
the courage to defy accepted ideas of how 
active women could be. 

Frances Power Cobbe (1822-1904) had a 
religious conflict with her father. When 
Cobbe found that she could not accept the 
teachings of Christianity any more and 
therefore would not attend services or pray- 
ers, her father sent her away to a remote 
farm, where she spent nine months at the age 
of twenty in utter loneliness. The psychic 
deprivation did not change her mind and she 
returned as firmly convinced of her agnosti- 
cism as before. Once her father died, she 
sold many of her properties, cut her hair so 
that she would not need servants to care for 
it, and embarked on an independent life. In- 
stead of living with her brother as she was 
expected to, Cobbe travelled alone to Egypt 
and Palestine where she took up social work. 
Her importance for us is less in her work 
than in her life. Her courage and deter- 
mination were outstanding. 



These are but a few examples of wo- 
men who created lives according to their 
own needs. There must have been many 
more, less articulate and less famous, 
who worked with equal courage and ingenu- 
ity to make their own ways. As in any 
pioneering effort, those who were in the 
forefront of creating their own lives had 
few precendents and little support for 
their efforts. They have provided us with 
a tradition upon which we can build as we 
face the same issue today. 

********************* 

Our thanks to Eileen Huppert for this 
contribution. Ms. Huppert holds a Ph.D. 
in history, taught for ten years and is 
now involved in several different writing 
projects and is working as a volunteer 
with the San Francisco public school sys- 
tem. 

She plans to use this material in an 
article on religion in the lives of nine- 
teenth century English women reformers, 
and write biographies of such women for 
young readers. Any suggestions and in- 
quiries from Creative Woman readers are 
welcomed. 




SEX ROLES AND THE SUNDAY COMICS 

Sarah Brabant, Assistant Professor of Sociology at the University of South- 
western Louisiana is concerned with the question of how women are socialized and 
the effect of this socialization. One of her most recent articles, "Sex Role 
Stereotyping in the Sunday Comics," in which she analyzes the contents of four 
family-orientated comics for a period of six months, concludes: "In two of the 
selected comics, 'Blondie' and 'The Born Loser,' the adult females dominate the 
adult males; in the other two, 'Dennis the Menace' and 'Priscilla's Pop,' wives 
are subordinate to husbands. Despite this major difference in sex-role character- 
ization, however, traditional sex-role stereotyping appeared across comics. Whe- 
ther dominant or subordinate, females were more restricted to the home than were 
males. Further, regardless of the dominance factor, females continued to cook 
and clean; males rested and played. Females might outwit males, but only males 
read. Blondie may have to rescue poor bumbling Dagwood, but she is more restrict- 
ed to the home than he is. Gladys may overpower Brutus physically and verbally, 
but she cooks while he rests or reads." 

"Thus the female may be aggressive, clever, intelligent, or submissive and 
baffled by a frightening world. It appears to make no difference. In the world 
of the Sunday comics, as in other art forms, she continues to play the tradition- 
al stereotypical female role. Although she may be bigger and/or smarter, the 
apron remains her trademark." 

Brabant states that "more recently, researchers have focused on sex-role 
stereotyping in literature as an important factor in sex-role socialization. 
Although a relatively neglected area of study, this particular art form enjoys 
widespread popularity and warrants serious study (Berger, 1973), particularly 
with respect to its possible impact on sex-role socialization." 



AN INVITATION . . . 

Those of us who begin this project to encourage research and dialogue about 
women's creativity think of this effort as something larger than the production of 
a new quarterly newsletter. Though The Creative Woman will be a tangible product 
and a vehicle for exchange, the \/ery process of exchanging ideas and producing 
each issue will be the real "product." Lending your financial assistance doesn't 
mean merely a subscription to a new quarterly then, but a commitment to a joint 
effort of a supportive community interested in women and creativity. We invite 
your contributions. HG 



Please send me The Creative Woman for one year. Enclosed is my check or money order 
for $ . 

$2.00 regular subscription Return to: The Creative Woman 

$4.00 foreign subscription Governors State University 

$5.00+ donation and automatic subscription Park Forest South, IL 60466 

NAME 

ADDRESS 

CITY STATE ZIP 



HOW LANGUAGE GETS IN OUR WAY 

Mary Ritchie Key, professor of linguis- 
tics, University of California at Irvine, 
has written on non-verbal communication «nd 
the effects of cerebral hemisphere differ- 
ences on communication. In her recent pa- 
per "Grammatical Categories Revisited by 
Males and Females," she notes that we are 
having "great protocol problems in trying 
to decide how to talk about each other. We 
don't know what word to use -- companion, 
roommate, boyfriend, girlfriend, lover, mis- 
tress, mate" or what? Gender in English 
tells us if a man is male, female, or neu- 
ter. Key believes that the confusion and 
ambivalence that marks this state of tran- 
sition results from the changes in technol- 
ogy, medicine and education that have forced 
us to redefine male and female categories. 
This may be one of the most significant 
changes in the 20th century. 

Dr. Key points out that studies of gram- 
matical categories give some insight into 
the relationship of male and female, and 
are an outgrowth of the human concept of 
reality and how to cope with it. Let us 
take the concept of "the reasonable man" as 
it is used in law. "Females" writes Key, 
"have not been included in the category of 
humans who function as thinkers until rela- 
tively recent times. Less than a hundred 
years ago it was believed, at least by some 
scholars, that genius could only be a mas- 
culine trait." (See Natalie Hayes 1 article, 
"A Genius for Seeing Relationships, page 
five) Depending on the century, men decided 
that women did not have a brain, did not 
have a soul, did not have a penis, or did 
not have True Eros. What next will we not 
have? 

In her recent book on male/female lang- 
uage, Key has recorded illustrations of 
groupings from the actual language use in 
contract law: "the blind, the lame, and the 
women; scotch, horses and ladies; crime, 
violence, sex, and women; minors, the men- 
tally Incapacitated . . . married women, 
convicts, and aliens." The State of New 
York's franchise law included everyone but 
women, minors, convicts, and idiots. Today's 
Penal Code of California (Section 415.5) 
classifies women with children. 



Unless we can face quite fearlessly 
these facts and their implications, we can- 
not be about the task of freeing ourselves. 
Rather than become too disheartened by 
these insights so clearly documented by 
Mary Key, it is of the greatest importance 
for women to also realize that this state 
of affairs is of fairly recent origin, re- 
sulting from the devaluation of women's 
work following the industrial revolution. 
Key reminds us that historically, all adult 
members of society have actively contributed 
toward the provision of food, clothing 
and shelter. "There is simply too much 
work involved to allow a large category of 
adults such 'protection' that they are 
shunted to the sidelines along with the 
minors and the feeble. The fact that the 
industrial society redefined 'work' and 
the laws that govern this 'work,' has ob- 
scured the realities that females have 
never stopped contributing toward the pro- 
vision of food, clothing, and shelter!" 










Lesley Saar 



A GENIUS FOR SEEING RELATIONSHIPS 



Natalie Hayes, of Youngstown State Uni- 
versity in Ohio, a student of evolution and 
Jungian psychology, writes that she has 
spent "ten feverish years researching and 
pondering the problem of women's creativ- 
ity." She writes; "If I reached one single 
conclusion in my studies, it is that women 
have a perfect genius for seeing relation- 
ships . . . and they do see a truth beyond 
logic. I cite as examples four major cul- 
tural changes which initiated attitudes to- 
ward war, slavery, abortion, nature." 

"The view of war began to change (in 
my opinion) with the work of Florence 
Nightingale in the Crimea in 1854. War had 
always been an honorable economic support 
system plus a wonderful outlet for pent-up 
aggression; soldiers were expendable. Who- 
ever heard of administering succor to wound- 
ed soldiers on a battlefield!" 

My second example is Harriet Beecher 
Stowe's powerful Uncle Tom's Cabin , publish- 
ed in 1856. Men take all the credit for 
abolishing slavery, but it was she who fer- 
tilized the underlying support system with 
her furious book, thus turning over an age- 
old structure, slavery - as old as human be- 
ings and their frenzied search for what . . . 
power, wholeness? 

Margaret Sanger began the ardous task 
of reversing the ethic that forced propaga- 
tion of the species on the female, especial- 
ly on the poor, an ethic which was firmly 
established at the time of Hippocrates. In 
400 B.C. controversy raged between his fac- 
tion and that of the Pythagoreans over abor- 
tion and euthanasia. Not until 1937 were 
the Comstock Laws, which forbade even phy- 
sicians to dispense any contraceptive in- 
formation, repealed in this country. 

Fourth Hayes also cites Rachel Carson, 
who put the sanctity back into nature. Con- 
quering nature had long been the culture 
dominant, certainly from the time of Christ, 
but more probably originating at the time 
of the great hero myths - the Epic of 
Gilgamesh, 2000 B.C. 

"These four women modified ethical 
structures introducing the concepts of war 
as a negative value, abolition, population 
control , and ecology. 

While Hayes is scathing in her critique 
of psychoanalysis, she finds Jung's anima- 
animus concepts promising. She quotes the 



late Irene Claremont de Castillejo, ana- 
lyst, who had the following dream: "With 
the help of two men, Irene descended the 
wet, dark stone stairs to the boiling pri- 
mordial sea in which the woman swam about 
surrounded by monsters and crying desper- 
ately for help. They brought her up to a 
level that seemed to be like a hospital 
and began to put her to bed. But a voice 
rang out, 'You can't put her there, she 
must be brought up into the sunshine.' 
That is, integrated into the world cultures 
on every level . " 

"Castillejo interpreted this to mean 
that the soul of woman is in great distress 
and needs rescuing. I wept when I read 
th i s . I know it is." 

You'll hear more from Natalie Hayes 
in future issues of this newsletter. 




IN CELEBRATIO 
Three poems by Debbi< 



The Equation 

For twenty years I sought an equation 
to heal the wounding of my boyhood 

ZeX ua make, thiA chiZd {n.om oua togetheAneAb 
moZding ZtA bkuJUL with oua actA o^ Zove. 

by a metamorphosis in a pool, chill as stalactites 
on its raw mountainside that eyed the monstrous sun 

ZeX ua fie. jo tee. in the. buAAting ofi the. bag o& wateAA 
bh.e.athing togeXheA huAhe.d Like. labbiXA tn hiding 

because my sister drowned, disappearing into her blue-grey cheeks 
spreadeagled then her corpse on a porch over the hayfields 

ZeX ua Zabon. in uniAon to b/ving oat 
tkli, nejweAt cAe,ation that we. hope.d fton. 

where our family, emaciated by grief, hovered 
like bent, blasted elms who encircle a swamp 

ZeX ua diZatate. oa man and woman one. 
{on. XhtA dvitd on the. damn o£ iXA day 

in a convocation of ancestors and the still unborn 
of those standing there alone and those absent 

and now in the. fatnaZ houAA ofi the. mtdwt&e. 
the. i>ZendeA handA o{ a hindu. gemote, docXon 

we will heal at last my mother wailing by a wall 
the blinding blue of my father howling in his eyes 

we., oveA thiA bmaZZ 6 pace, with itA potnteA hai/t 
a sloping fiteZd that tapeAA beXwe.en bouZdeAA 

over the ashen cheeks remembered, the half-open life 

oveJi the. he.ad iX Ze.apt> faonXh the. AtAike. ol a t/iout 

a fiuZl moon Au.dde.nty thexe. out o^ tn.e.eXopt> 

Zike a guAh o^ mountatn wateA 

into n.e.cXpte.nt ^ZngeAA 

and King Vavtd Ze.api and da.ne.eA tn zcAtaiy Ion. the, Zond 

amid c/iXeA o{ a woman . motheA biAteA daughteA ZoveA 

heA nu-dZeoA won.dA AhntUUng In a mtghty btohm ofi thundeA: 

"It's a girl! it's Katherine! oh! look at her! let me hold her!" 

P.F. 




IF KATHERINE 

ind Paul Friedrich 

THROUGH THE WAXING AND WANING MOONS 

I wake in the night 

drawn like a skin of water over rocks 

- my tide is in - 

deepen again and sleep 

thinking of how we are alone and must learn 
to be together, dreaming of how 
we are together and must learn to be 
alone, or else, dreaming the thought 
thinking the dream 

and the tide rises higher and higher 

and the house that I seem is full 

of the coming of one we know but cannot see, 

D.F. 



to my husband on the eve of the birth of my daughter 



I would invite you to my house 

but it has no floor 

and the person who lives there is descending 

Let us meet in a garden 

though I expect rain 

and am uncertain 

whether it is I who shall come. 

D.F. 




FROM THE EDITOR'S BED 
Creative Lives . . . 



we re 
case, 
bed. 

women 



In bed we laugh, in bed we cry, in bed 
born, in bed we die" . . . and in our 
the phone often rings when we're in 
We agree, yes, to do an address on 
as idea inventors for a midwest AAUW 
conference on "The Great Change Machine;" 
go back to sleep; spend the next five months 
gradually collecting ideas and references. 
One thing leads to another. The talk is 
published and letters begin to pour in, sev- 
eral a day, from dozens of women (and a few 
men) all over the country who responded as 
though a special chord had been struck in 
consciousness. There is a groundswell phe- 
nomenon. Women have described themselves 
as both iceberg and volcano. 




Meet a few of our readers: SISTER JOAN 
CHATFIELD of Maryknoll, New York, reports 
that after living on a volcanic island in 
Hawaii, she prefers the volcanic analogy 
"because volcanos create new land in their 
life -thrust." BARBARA RYAN of Montclair, 
New Jersey, has found reading feminist lit- 
erature to be manna in the desert, "it is so 
tremendously helpful to know that the pain 
of being always at odds comes not from being 
a freak but from being a woman in our soci- 
ety." Ryan suggests that women may excel! 
in school because they translate right hemi- 
sphere responses into left hemisphere test 
answers, but "feel like an illegal alien in 
the world of ideas, and a fraud." The no- 
tion of an adrogynous mind is applauded by 
EDGAR METZLER of Elkhart, Indiana, who be- 
lieves that creativity in males and females 
is essentially the same process and that a 
greater synthesis is the wave of the future. 
W.R. SLINGER, a psychiatrist in Eureka, 
California, is studying lateralization of 
shame vs. guilt, and is interested in stud- 
ies of lateralization of field independance 
vs. field dependance. CINTHIA CONRAD of 




Newmarket, New Hampshire, is studying the 
relationship between sex differences in 
hemisphere function and gendered writing 
style. ANNA JO EADS, a theology student 
in Loveland, Colorado, finds that "con- 
fluent education" brings about a profound 
understanding of the interaction of the 
sacred and secular worlds, and reports that 
she has discovered the socio-cultural com- 
ponent in her own personal struggles toward 
integration. 

A law student, JOANNE CREAGER of La 
Habra, California, writes that "law, in 
many ways, suffers from creative petrifi- 
cation and can be almost unbelievably feu- 
dal .. . something many women students 
hope to change." GAYLE NEWCOMB, a social 
worker in Charleston, South Carolina, 
applies theory of creativity to her work 
by placing graduate students in a hospital. 

A doctoral candidate at Bryn Mawr, 
ANNE HIGHLAND is working on a model of 
mental health/mental illness in which 
creativity plays a part. CARLA VENTO, a 
resource teacher for mentally gifted stu- 
dents in Carmichael, California, is devel- 
oping learning activities for visual and 
lateral thinking. MARY SHERMAN of Wichita, 
Kansas, planning to study creativity as a 
graduate student in psychology, writes 
"this newsletter may be the start of some- 
thing big," and says she wants to be a part 
of an ongoing communication link. VIRGINIA 
BOYACK, Project Director of the Pre-Retire- 
ment Education Project is completing her 
dissertation on "Women in 
Their Perception of Their 
lationships and Their Use 

EVELYN L0CKW00D of Lake George, New 
York, has been suppressed in her efforts 
in creative writing for years, feeling 
that what she has was not acceptable to 
others, but now promises to try her wings 
in flight — freeing herself in writing. 
She maintains that there would be no dis- 
cipline problems in the classroom if teach- 
ing is used creatively. 

The arts are well represented among 



Their Middle Years 
Needs, Their Re- 
of Time." 



nearly every woman 
liberating challenge 



our readers: MOLLY MASON of Morris, 
Minnesota, a sculptor and university in- 
structor, writes, "I am engaged in demyth- 
ologizing women's roles in the progression 
of ideas through time. I think it is very 
important for women in positions of some 
type of influence (and 
must be) to accept the 
to re-educate or complete their education 
concerning the roles women have played in 
society." MARY JANE WOLBERG teaches dance 
at East Stroudberg College in Pennsylvania 
and does research in creativity. SISTER 
NANCY FIERRO of Immaculate Heart College in 
Los Angeles, writes of her research in women 
composers with particular interest in sex 
differences in the human brain (music being 
a right hemisphere function). She writes 
"the music I have uncovered, some dating 
back four centuries, has been obscured that 
long, with women writing under the name of 
father, brother or husband," and would like 
to hear from anyone who can shed light on 
the relationship of woman-brain-music- 
creativity. 

HARRIET MARGOLIS uses creativity theory 
in her work in comparative literature at 
Indiana University in Bloomington. MARIETTA 
CONROY, a professor of classics and history 
at Saint Mary's College in Winona, Wisconsin, 
is developing a discussion for the faculty 
on women's creativity. DELLA SMITH teaches 
women's literature at Montclair, New Jersey. 
EILEEN LEPAGE gives presentations on crea- 
tivity to adult groups in her community of 
Wyomissing, Pennsylvania, 
at Antioch College, Ohio, 
as "set on Fire" by these 
dent of women's studies, 
assistant to the Dean of 



COLLEEN MCGAHEE 

describes herself 

ideas, as a stu- 

And KATHRYN DARBY, 

Graduate Studies at 



Beaver College, Glenside, Pennsylvania, is 
working to introduce an interdisciplinary 
major in women's studies. 

JANE GALLAGHER of Paoli, Pennsylvania, 
writes of the success achieved by her eight 
friends who formed a group to explore their 
blocked creativity. "We were," she writes, 
"approaching our middle years, we knew our 
creative energies had gone into child rear- 
ing, church work and homebuilding. We ob- 
served that these same energies seemed to 
be turning inward and creating chaos, and 
wanted to turn those energies outward into 



positive channels of sel f -actual ization. 
It seemed we really set in motion a crea- 
tive process and now we have all really 
entered into the mainstream of life. 
Several have returned to college, and 
others are involved in creative music, 
art and writing! I'm in graduate school 
in special education and want to work 
with emotionally disturbed children, 
helping them to unblock their own crea- 
tive channels. " 

Many letters end with expressions 
of thanks, warmth, and support. One even 
included a ten dollar bill, ETHEL FREEL, 
a rehabilitation administrator in Indiana, 
in offering her contribution, called it 
"venture capital, or a subscription or a 
gesture of faith in the enterprise." At 
that moment, the newsletter became a ne- 
cessity, a reality, a fact. 

My deepest thanks to you all. And a 
work of warning: you never know what may 
lie ahead when you reach out sleepily to 
answer an insistently ringing telephone at 
your bedside. 

HEH 



10 



WHERE TO GET IT 
(An Annotated Bibliography of Women's Creativity Periodicals) 



The following is a compilation of periodi- 
cals which may be of interest to our audi- 
ence of creative women. We have limited 
ourselves to listing only the items that 
deal mainly with creative pursuits, not 
the general feminist-type news magazines. 
These were selected from various sources; 
some were available for our inspection, 
others were not. However, the individual 
items we could not inspect were felt to 
be worthy of mention from their descrip- 
tions. Also, rather than find ourselves 
in the position of advertising, and due 
to the fact that subscription prices are 
often subject to change, we are omitting 
the prices of these publications. 

DJP 
Aphra 
Box 893 

Ansonia Station 
New York, New York 10023 

Feminist literary magazine named for the 
first woman to earn her living by writing. 

Black Maria 

815 West Wrightwood Avenue 

Chicago, Illinois 60614 

Feminist quarterly containing interviews, 
articles, and short stories. 

Brainchild 

1004 North Sixth Street 

Springfield, Illinois 62702 

Irregularly published anthology of poetry 
by women. 

Camera Obscura 

P.O. Box 4517 

Berkeley, California 94704 

Journal of feminism and film. 

Chromo Uri 

University of Massachusetts 

Feminist Arts Program, Everywoman's Center 

Goodell Hall 

Amherst, Massachusetts 01002 



Chrysalis 

World Community Incorporated 

1727 North Spring Street 

Los Angeles, California 90012 

Magazine of culture. 

Directory of Films by and/or About Women 

Women's History Library 

2325 Oak Street 

Berkeley, Califnoria 94708 

Biennial reference work. 

Earth's Daughters 



409 Richmond 
Buffalo, New 



Avenue 
York 14222 



Feminist arts periodical, founded to 
publish the best possible writing and 
artwork by women. 

El ima 

149 West Fourth Street 

5D 

New York, New York 10012 

A journal of writing. 

Female Artists Past and Present 

Women's History Library 

2325 Oak Street 

Berkeley, California 94708 

Biennial annotated directory of women in 
the field of art. 

Feminist Art Journal 
41 Montgomery Place 
Brooklyn, New York 11215 

An outgrowth of the women's artist move- 
ment concentrating on women in the arts. 

For Women Only 

420 West Melrose Street 

Chicago, Illinois 60657 

Newsletter containing news items, artwork, 
writing and photographs. 



Book, film and play reviews 



11 



Genesis III 

Task Force on Women in Religion 

P.O. Box 24003 

Philadelphia, Pennsylvania 19139 

Quarterly newsletter regarding women and 
religion. 

Matrix: For She of the New Aeon 

Box 4218 

North Hollywood, California 91607 

Anthology of creative writing with an em- 
phasis on poetry. 

Media Report to Women 

Media Report to Women, Incorporated 

3306 Ross Place N.W. 

Washington, D.C. 20008 

Monthly report on women's activities in the 
communication field. 

Moving Out Magazine 
Box 26, U.C.B. 
Wayne State University 
Detroit, Michigan 48202 

Feminist literary magazine containing art- 
work, short stories, essays, poetry and 
photographs. 

Paid My Dues 

Woman's Soul Publishing 

P.O. Box 5476 

Milwaukee, Wisconsin 53211 

Quarterly journal of women and music. 

Room of One's Own 
Growing Room Collective 
9-2520 Prince Albert Street 
Vancouver, British Columbia V5T 3X1 

Canada's leading feminist literary quarterly. 

Sibyl Child 

12618 Billington Road 

Silver Springs, Maryland 20904 

Women's art and culture journal. 



Sunbury, A Poetry Magazine 
P. 0. Box 274 
Jerome Avenue Station 
Bronx, New York 10468 

Women's poetry periodical. 

Thirteenth Moon 

101-16 120th Street 

Richmond Hills, New York 11419 

Forum for the creative writing of women, 
published by the Journal of Writing Or- 
ganization of the City College of New York 

Us Magazine 

4213 West Bay Avenue 

Tampa, Florida 33616 

Feminist news and literary magazine. 

Women in the Arts Newsletter 

Box 4476 

Grand Central Station 

New York, New York 10017 

Newsletter of an organization created 
for all creative women. 

Women Becoming 

1318 Singer Place 

Apartment 2 

Wilkinsburg, Pennsylvania 15221 

Feminist literary journal. 

Women Writing, Newsletter 

RD 3 

Newfield, New York 14867 

Information on the field of creative 
wri ti ng . 

Woman's Journal of the Arts 
School of Art 

California Institute of the Arts 
24700 McBean Parkway 
Valencia, California 91355 

Journal which gives exposure to women 
artists in all media. 



aweary.*, 





The 
, Creatine 
Ionian 



Governors State University 
Park Forest South, IL 60466 



Nonprofit Org. 
U. S. Postage Paid 
Park Forest South, IL 
Permit #178